Editing Jackson Pollock (section)

==Authenticity issues==
The Pollock-Krasner Authentication Board was created by the Pollock-Krasner Foundation in 1990 to evaluate newly found works for an upcoming supplement to the 1978 catalogue.<ref>Lesley M. M. Blume (September 2012), [http://www.vanityfair.com/culture/2012/09/jackson-pollock-ruth-kligman-love-triangle "The Canvas and the Triangle"], ''[[Vanity Fair (magazine)|Vanity Fair]]''.</ref> In the past, however, the Pollock-Krasner Foundation has declined to be involved in authentication cases.<ref>Randy Kennedy (May 29, 2005), [https://www.nytimes.com/2005/05/29/arts/design/29kenn.html "Is This a Real Jackson Pollock?"], ''The New York Times''.</ref>

In 2006, a documentary, ''[[Who the *$&% Is Jackson Pollock?]]'', was made concerning Teri Horton, a truck driver who bought an abstract painting for five dollars at a thrift store in California in 1992. This work may be a lost Pollock painting, but its authenticity is debated. [[Thomas Hoving]] is shown in the documentary and states that the painting is on a primed canvas, which Pollock never used.

''Untitled 1950'', which the New York–based [[Knoedler Gallery]] had sold in 2007 for $17 million to Pierre Lagrange, a London hedge-fund multimillionaire, was subject to an authenticity suit before the [[United States District Court for the Southern District of New York]]. Done in the painter's classic drip-and-splash style and signed "J. Pollock", the modest-sized painting ({{Convert|15|x|28+1/2|in|cm}}) was found to contain yellow paint pigments not commercially available until about 1970.<ref>Michael Shnayerson (May 2012), [http://www.vanityfair.com/culture/2012/05/knoedler-gallery-forgery-scandal-investigation "A Question of Provenance"], ''Vanity Fair''.</ref> The suit was settled in a confidential agreement in 2012.<ref>Patricia Cohen (October 21, 2012), [https://www.nytimes.com/2012/10/22/arts/design/knoedler-made-huge-profits-on-fake-rothko-lawsuit-claims.html "Lawsuits Claim Knoedler Made Huge Profits on Fakes"], ''The New York Times''.</ref>

===Fractal computer analysis===
In 1999, the physicist and artist Richard Taylor used [[computer]] analysis to show similarities between Pollock's painted patterns and [[fractal]]s (patterns that recur on multiple size scales) found in natural scenery,<ref>{{cite journal |last1=Taylor |first1=Richard |last2=Micolich |first2=Adam |last3=Jonas |first3=David |title=Fractal analysis of Pollock's drip paintings |journal=Nature |year=1999 |volume=399 |issue=422 |pages=422 |doi=10.1038/20833 |bibcode=1999Natur.399..422T |s2cid=204993516 |doi-access=free }}</ref> reflecting Pollock's own words: "I am nature".<ref>{{cite magazine |last=Schjeldahl |first=Peter |date=July 23, 2006 |title=American Abstract |url=https://www.newyorker.com/magazine/2006/07/31/american-abstract |magazine=The New Yorker |location=New York City |publisher=Condé Nast |access-date=18 April 2022}}</ref> His research team labelled Pollock's style [[fractal expressionism]].<ref>R.P. Taylor, "Order in Pollock's Chaos", ''Scientific American'', vol. 287, 116–121 (2002)</ref>

In 2003, 24 Pollockesque paintings and drawings were found in a locker in [[Wainscott, New York]]. In 2005, The Pollock-Krasner Foundation requested a fractal analysis to be used for the first time in an authenticity dispute.<ref name="J. Abbott, 2006">J. Abbott, "In the Hands of a Master", ''Nature'', vol. 439, 648–650 (2006).</ref><ref>R.P. Taylor et al., "Authenticating Pollock Paintings Using Fractal Geometry", Pattern Recognition Letters, vol. 28, 695–702 (2005).</ref><ref>J. Rehmeyer, "Fractal or Fake?", ScienceNews, vol. 171, 122–123, (2007)</ref><ref>K. Jones-Smith et al., "Fractal Analysis: Revisiting Pollock's Paintings" Nature, Brief Communication Arising, vol. 444, E9-10, (2006).</ref><ref>R.P. Taylor et al., "Fractal Analysis: Revisiting Pollock's Paintings". ''Nature'', Brief Communication Arising, vol. 444, E10-11, (2006)</ref> Researchers at the University of Oregon used the technique to identify differences between the patterns in the six disputed paintings analyzed and those in 14 established Pollocks.<ref name="J. Abbott, 2006" /> Pigment analysis of the paintings by researchers at [[Harvard University]] showed the presence in one painting of a synthetic pigment that was not patented until the 1980s, and materials in two others that were not available in Pollock's lifetime.<ref>Custer, Lee Ann W. (January 31, 2007), [http://www.thecrimson.com/article/2007/1/31/pigment-could-undo-pollock-a-sophisticated/ "Pigment Could Undo Pollock"], ''The Harvard Crimson''.</ref><ref>{{cite news|last=McGuigan |first=Cathleen |url=http://www.msnbc.msn.com/id/20216976/site/newsweek/ |title=Seeing Is Believing? Is this a real Jackson Pollock? A mysterious trove of pictures rocks the art world|work= Newsweek |date=August 20–27, 2007 |access-date=August 30, 2009 |url-status=dead |archive-url=https://web.archive.org/web/20070817122703/http://www.msnbc.msn.com/id/20216976/site/newsweek/ |archive-date=August 17, 2007 }}</ref>

In 2007, a traveling museum exhibition of the paintings was mounted and was accompanied by a comprehensive book, ''Pollock Matters'', written by Ellen G. Landau, one of the four sitting scholars from the former Pollock Krasner Foundation authentication panel from the 1990s, and Claude Cernuschi, a scholar in Abstract Expressionism. In the book, Landau demonstrates the many connections between the family who owns the paintings and Jackson Pollock during his lifetime to place the paintings in what she believes to be their proper historic context. Landau also presents the forensic findings of Harvard University and presents possible explanations for the forensic inconsistencies that were found in three of the 24 paintings.<ref name=PollockMatters1>Ellen G. Landau, Claude Cernuschi (2007). ''Pollock Matters''. McMullen Museum of Art Boston College, published by the University of Chicago Press.</ref><ref name=PollockMatters2>Michael Miller (December 7, 2007). "Pollock Matters, The McMullen Museum of Art, Boston College, September 1–December 9, 2007". ''The Berkshire Review, An International Journal for the Arts''.</ref> However, the scientist who invented one of the modern pigments dismissed the possibility that Pollock used this paint as being "unlikely to the point of fantasy".{{citation needed|date=August 2021}}

Subsequently, over 10 scientific groups have performed fractal analysis on over 50 of Pollock's works.<ref>J.R. Mureika, C.C. Dyer, G.C. Cupchik, "Multifractal Structure in Nonrepresentational Art", ''[[Physical Review E]]'', vol. 72, 046101-1-15 (2005).</ref><ref>C. Redies, J. Hasenstein and J. Denzler, "Fractal-Like Image Statistics in Visual Art: Similar to Natural Scenes", ''Spatial Vision'', vol. 21, 137–148 (2007).</ref><ref>S. Lee, S. Olsen and B. Gooch, "Simulating and Analyzing Jackson Pollock's Paintings" ''Journal of Mathematics and the Arts'', vol.1, 73–83 (2007).</ref><ref>J. Alvarez-Ramirez, C. Ibarra-Valdez, E. Rodriguez and L. Dagdug, "1/f-Noise Structure in Pollock's Drip Paintings", Physica A, vol. 387, 281–295 (2008).</ref><ref>D.J. Graham and D.J. Field, "Variations in Intensity for Representative and Abstract Art, and for Art from Eastern and Western Hemispheres", ''Perception'', vol. 37, 1341–1352 (2008).</ref><ref>J. Alvarez-Ramirez, J. C. Echeverria, E. Rodriguez "Performance of a High-Dimensional R/S Analysis Method for Hurst Exponent Estimation", ''Physica A'', vol. 387, 6452–6462 (2008).</ref><ref>J. Coddington, J. Elton, D. Rockmore and Y. Wang, "Multi-fractal Analysis and Authentication of Jackson Pollock Paintings", Proceedings SPIE, vol. 6810, 68100F 1-12 (2008).</ref><ref>M. Al-Ayyoub, M. T. Irfan and D.G. Stork, "Boosting Multi-Feature Visual Texture Classifiers for the Authentification of Jackson Pollock's Drip Paintings", SPIE proceedings on Computer Vision and Image Analysis of Art II, vol. 7869, 78690H (2009).</ref><ref>J.R. Mureika and R.P. Taylor, "The Abstract Expressionists and Les Automatistes: multi-fractal depth", ''Signal Processing'', vol. 93 573 (2013).</ref><ref name="L. Shamar, 2015">L. Shamar, "What Makes a Pollock Pollock: A Machine Vision Approach", ''International Journal of Arts and Technology'', vol. 8, 1–10, (2015).</ref> A 2015 study that used fractal analysis as one of its techniques achieved a 93% success rate distinguishing real from fake Pollocks.<ref>L. Shamar, "What Makes a Pollock Pollock: A Machine Vision Approach", ''International Journal of Arts and Technology'', vol. 8, 1–10, (2015)</ref> Current research of Fractal Expressionism focuses on human response to viewing fractals. Cognitive neuroscientists have shown that Pollock's fractals induce the same stress-reduction in observers as [[computer-generated imagery|computer-generated]] fractals and naturally occurring fractals.<ref>R.P. Taylor, B. Spehar, P. Van Donkelaar and C.M. Hagerhall, "Perceptual and Physiological Responses to Jackson Pollock's Fractals", ''Frontiers in Human Neuroscience'', vol. 5 1–13 (2011)</ref><ref>R.P. Taylor et al., in ''Fractal Geometry of the Brain'', Springer, 2016</ref>